18th Century Literature: The Rape of the Lock Written by Alexander Pope - Assignment Example

Written by Alexander Pope (1688–1744), “the greatest poet of the 18th century and the greatest verse satirist in English The Rape of the Lock’ is, generally agreed to best illustrate the mock epic poetry in English – to Hazlitt’s words − “the perfection of the mock epic,”2 which in its final form “is an almost flawless masterpiece, a brilliant picture and light-hearted mockery of the gay society of Queen Annes day.”3 In fact, its title alone is a testament to the author’s brilliance in employing this literary genre as rape is a serious moral offence that merits death penalty, yet Pope used it amusingly summing up the mock-heroic character of the poem.4 Inspired by an actual incident of a battle royal between two British noble families in the 18th century spurred by young Lord Petre’s unauthorised cutting off a lock of hair dangling enticingly from the head of Arabella Fermor, his fiancée, to which she strike back by breaking off from their wedding engagement and prompted by John Caryll, who convinced Pope to write a poem that would satirise the asinine cause of the feud, ‘The Rape of the Lock’ although originally written to cool down the feuding families’ blazing tempers by jesting at their own petty squabble had also given Pope the opportunity to prove that he was no mere translator of another poet’s poem, but could be a good writer of a Homeric epic of his own version.5 Initially published anonymously in May 1712 (two Cantos, 334 lines), Pope modified and developed ‘The Rape of the Lock’ (five cantos, 794 lines), and republished it in March 1714 this time under his name.6 And finally in 1717, Pope decided to emphasise the poem’s moral − “a plea for maturity and good sense, for virtue and care of the soul”7 – by adding ‘grave Clarissa’s’ speech (Canto V, 9-34).8 Most literary reviews on ‘The Rape of the Lock’– aside from concurring that this indeed is Pope’s genius9 – generally agreed that the poem is “a humorous indictment of the vanities and idleness of 18th century high society… underscores the ridiculousness of a society in which values have lost all proportion… that fails to distinguish between things that matter and things that do not.”10 “WHAT dire offence from amrous causes springs/ What mighty contests rise from trivial things/ I sing--This verse to CARYL, Muse! is due:/ This, evn Belinda may vouchsafe to view: (Canto I, 1-4)11 But the poem when understood in its context of time and occasion and in the light of the life of the writer, would actually bring out more meaning, which as revealed to the reader, the more the poem achieves its perfection and immortality and so does the writer. For example, one thing that Pope would like to illustrate to his readers in ‘The Rape of the Lock’ is a blasphemous world where a man worships not his Creator but his flaming desire for a woman, But chiefly love--to love an altar built, Of twelve vast French romances, neatly gilt. There lay three garters, half a pair of gloves;             And all the trophies of his former loves;             With tender billet-doux he lights the pyre,            And breathes three amrous sighs to raise the fire.            Then prostrate falls, and begs with ardent eyes            Soon to obtain, and long possess the prize: (Canto II, 37-44) while on the other hand, the woman believing her power rests in the radiance of her beauty, similarly worships not her Creator but herself.12 And now, unveild, the toilet stands displayd,           Each silver vase in mystic order laid.           First, robd in white, the nymph intent adores           With head uncoverd, the cosmetic powrs.           A heavnly image in the glass appears,           To that she bends, to that her eyes she rears;           Th inferior priestess, at her altars side,           Trembling, begins the sacred rites of pride. (Canto I, 122-128) Still related to irreverence, it was argued that Canto I actually centred on Pope’s condemnation of his society’s commodifying even of Christianity as could be seen in Pope’s placement of the Bible among Belinda’s cosmetics. With the Bible symbolising religion, Pope suggests that religion has become a mere accessory for those who would like a higher place in the social ladder 13 – or worse, religion has been ideologically utilised for a Britain rapidly industrialising:14 “Here files of pins extend their shining rows/ Puffs, powders, patches, bibles, billet-doux/ Now awful beauty puts on all its arms;” (Canto I, 137-139) Another concern that could be seen in the poem is Belinda’s narcissism, which essentially exposed and criticised the false moral standards imposed on women in the 18th century.15 As Pollak observed: "The woman is made to function as the sign not of her own subjectivity but of a male desire of which she is the object:"16 “Methinks already I your tears survey/ Already hear the horrid things they say/ Already see you a degraded toast/ And all your honour in a whisper lost!” (Canto IV, 107-110) Lastly, Pope’s ‘A Key to the Lock’ “exposes his own poem as a dangerous political allegory (Belinda represents Great Britain, the Lock represents the Barrier Treaty).”17 As were shown above, ‘The Rape of the Lock’ could be richly interpreted. Though, it could be observed that these rich interpretations point to one and the same issue – and that is no other than the socio-political realities of the 18th century: battle of the sexes, religious persecution, commercialism and materialism, frivolity of the elite, an oppressive social strata, etc. But beyond all these, one view differs to which ‘The Rape of the Lock’ is to be understood – that according to Ian Gordon, ‘Pope continually confronts readers with the brevity of life and the imminence of death. It is from this point of view that ‘The Rape of the Lock’ shall be explored. Does Pope confront the readers with the brevity of life and the imminence of death in his mock-heroic poem ‘The Rape of the Lock’ when reviews clearly show that it deals with the petty issues of the upper class in the 18th century Britain. But Ian Gordon could be correct because in fact the poem was opened with this thought – that life could in fact be endangered by unimportant issues and that man’s suffering is not necessarily caused by overwhelmingly evil but most of the time of man’s foolishness: “What dire offence from amrous causes springs/ What mighty contests rise from trivial things,” (Canto I, 1-2) Furthermore, man’s folly that most often than not causes his/her misery and death is brought about by his own doing. For one, what man values in life that he/she risks to protect. For this, Pope tries to show in his poem, that man values things that are not important as life making man’s life short and bringing to him/herself imminent death. Just like the basis of this poem, where Belinda’s life rests on her beauty that the Baron’s cutting off one lock of her hair meant her destruction, therefore death, thus it would merit war. And when we talk of war, we are playing with death. In fact, “one of the effects of the whole poem is to show that the glitter and refinement of this world can be a veneer to cover the basest human motives.”18 A Charge of Snuff the wily Virgin threw; The Gnomes direct, to evry Atome just, The pungent Grains of titillating Dust. Sudden, with starting Tears each Eye oerflows, And the high Dome re-echoes to his Nose. Now meet thy Fate incensd Belinda cryd, And drew a deadly Bodkin from her Side. (Canto V, 82-88) Thus, the poem shows us the reality of wars that cause man’s so much misery and painful death is oftentimes a result of man’s folly, of man’s lust, and of man’s pride –this could be the reason why lust and pride are among the seven capital sins: “Say what strange Motive, Goddess! coud compel/ A well-bred Lord tassault a gentle Belle?/ Oh say what stranger Cause, yet unexplord,/ Coud make a gentle Belle reject a Lord? (Canto I, 7-10)” Lust is characterised by the Baron, who overwhelmed by his desire for Belinda was overcome with selfishness that he violated Belinda’s privacy, honour, and life. And overpowered by his lust for Belinda’s lock of hair, was ready to face death, just like Paris in ‘Helen of Troy’. With this great lustful desire in the Baron, truly he had raped the lock – the lock which in the poem symbolises Belinda’s honour: “Th adventrous Baron the bright locks admird;/ He saw, he wishd, and to the prize aspird./ Resolvd to win, he meditates the way, By force to ravish, or by fraud betray (Canto II, 29-32).” And just like Paris, who was enslaved by his lustful desire, vowed never to surrender his prise thinking only of himself and disregarding the fate of his countrymen who would surely be casualties in a war that is rooted from selfishness. But by this Lock, this sacred Lock I swear, (Which never more shall join its parted hair; Which never more its honours shall renew, Clippd from the lovely head where late it grew) That while my nostrils draw the vital air, This hand, which won it, shall for ever wear." (Canto IV, 133-138) On the other hand, pride is symbolised by Belinda, whose “long and laborious toilet obviously demonstrates her pride and vanity, which are unfortunate sins.”19 This daily ritual is to make sure that she looks beautiful, because she believes that her life is her beauty. And now, unveild, the Toilet stands displayd, Each Silver Vase in mystic Order laid. First, robd in White, the Nymph intent adores With Head uncoverd, the Cosmetic Powrs. A heavnly Image in the Glass appears, To that she bends, to that her Eyes she rears; Th inferior Priestess, at her altars side, Trembling begins the sacred rites of Pride. Unnumberd treasures ope at once, and here The various offrings of the world appear; From each she nicely culls with curious toil, And decks the Goddess with the glittring spoil (Canto I, 121-132) That without her beauty her golden future to marry a rich well-known Baron will be lost, rendering her life useless signifying her death. “The words of Thalestris represent a very real danger if she should veer too far on one direction.”20 Methinks already I your Tears survey, Already hear the horrid things they say, Already see you a degraded Toast, And all your Honour in a Whisper lost! (Canto IV, 107-110) Thus life here as Belinda portrays is understood only in material things, making death imminent because material wealth does not remain forever. As wars are brought about by folly of those in power – signified by the Baron and Belinda, Pope also would like to make his readers – who in his time were the rich – realised that in their folly or petty quarrels, what is more pitying to see are the casualties of their non-sense wars – who were mostly the marginalised section of the society or the poor: “There Affectation with a sickly Mien/ Shows in her Cheek the Roses of Eighteen/ Practisd to Lisp, and hang the Head aside,/ Faints into Airs, and languishes with Pride; (Canto IV, 31-34)” Pope also shows that it is in man’s hidden desires that evil prospers. Meaning evil deeds, which make man’s life short and death imminent could penetrate and overpower man’s thought and actions, if he/she holds within her a desire very dear to him/her. In short, just like what had happened in the Garden of Eve in the Book of Genesis, it was man’s own making that led him be expelled from paradise and face the imminence of death. This Nymph, to the destruction of mankind, Nourishd two Locks, which graceful hung behind In equal curls, and well conspird to deck With shining ringlets the smooth ivry neck. Love in these labyrinths his slaves detains And mighty hearts are held in slender chains. (Canto II, 19-24) As the Church teaches, what caused death is no other than man’s sin – the Original Sin. For as long as man does not learn to forgive -- it should be noted that what prevents one to forgive is pride, just like what had empowered Belinda in the poem – then life for man would never be easy, peaceful and long: “Belinda now, whom thirst of fame invites/ Burns to encounter two adventrous Knights/ At Ombre singly to decide their doom/ And swells her breast with conquests yet to come.” (Canto III, 25-28) As long as man is driven by lust, pride, and selfishness, death will always be imminent. Just like what is happening in the world today -- wars everywhere, death everywhere, because as is often said: ‘In wars, there are no victors.’ The rebel Knave, who dares his prince engage Proves the just victim of his royal rage Evn mighty Pam, that Kings and Queens oerthrew And mowd down armies in the fights of Lu, Sad chance of war! now destitute of aid, Falls undistinguishd by the victor spade! (Canto III, 59-65) Therefore, to philosophise Pope’s understanding of life and death will bring us to one word only and that is SIN – a very Catholic belief. In short, man’s life is short because death is always imminent due to man’s folly, lust, pride, and selfishness. This could depict the situation of Britain in the 18th century. But see how oft ambitious aims are crossd, And chiefs contend till all the prize is lost! The Lock, obtaind with guilt, and kept with pain, In evry place is sought, but sought in vain: With such a prize no mortal must be blest, So heavn decrees! with heavn who can contest? (Canto V, 107-112) As discussed earlier, ‘The Rape of the Lock’ simply lampoons the fashionable world of the elite class – which against far more serious social issues surrounding Britain during the 18th century – spend their everyday life troubling themselves with trivial matters. But reading the poem intently and armed with the context from which the poem was written and aware of the poet himself, it could be observed that there is more to this candid satirical attack – something very essential, something immortal – and that is Pope’s understanding of life and death. Fully aware of the social realities of his time, as he was able to cut across in-between the social ladders, giving him the first hand knowledge of the life of the elites and the marginalized, Pope was able to put across his belief that life is short because death is imminent due to man’s folly, lust, pride, and selfishness. As what Clarissa had advised to Belinda: if man could only laugh at his own mistake, which could only be possible with the virtue of humility, then man could forgive and wars could be avoided. In short, Pope shows us the necessary virtues that man should possess in order for the world where he/she lives in be a safer place to live in. With a safer world, threats to life will be lessened, thus the great possibility of prolonging man’s life. References A Key to the Lock. Retrieved from http://www-unix.oit.umass.edu/~sconstan/keylock.html Brown, Dennis. (2004). “Desire between Couple(t)s-A Counselling Intervention.” Critical Survey, 16 (3), 1-12. Cummings, Michael J. (2005). “The Rape of the Lock by Alexander Pope.” A Study Guide. Retrieved from http://www.cummingsstudyguides.net/Guides2/Pope.html Fabricant, Carole. (1997). “Defining Self and Others: Pope and Eighteenth-Century Gender Ideology.” Criticism, 39 (4), 503-523. Gordon, Ian. (2001). "The Rape of the Lock.” The Literary Encyclopedia. Retrieved from http://www.litencyc.com/php/sworks.php?rec=true&UID=7525 Hernandez, Eric. (2008). Commodity and Religion in Popes the Rape of the Lock: Alex Eric Hernandez. Studies in English Literature, 1500-1900, 48 (3), 569-582. Janjua, Qaisar Iqbal. (2009). Alexander Pope’s the Rape of the Lock: A Critical Analysis. Retrieved from http://www.scribd.com/doc/15044618/Alexandar-Popes-the-Rape-of-the-Lock-A-Critical-analysis-By-Qaisar-Iqbal-Janjua. Mackean, Ian. (2005). “The Rape of the Lock: Alexander Popes portrayal of Belinda and her society.” London School of Journalism. Retrieved from http://www.english-literature.org/essays/alexander-pope.php Miller, Christopher R. (2003). Introduction. In Martin Price (Ed), The Rape of the Lock and Other Poems, i-xx. Signet Classic: England. Retrieved from http://books.google.com.ph/books?id=aeDM0dh5PeMC&printsec=copyright&source=gbs_pub_info_s&cad=2#v=onepage&q=&f=false Parrott, Thomas Marc, (ed). (1903). The Rape of the Lock and Other Poems. Ginn: Boston. Pope, Alexander. (1806). The Rape of the Lock. In W. L. Bowles (ed), The Works of Alexander Pope, Esq. A new Edition in Ten Volumes, Vol. 1, 303-355. London Somroo, A. R. (n.d.). The Rape of the Lock – Mock Epic Poem. Retrieved from http://www.scribd.com/doc/20248777/Rape-of-the-Lock-A-Mock-Heroic-Poem The Columbia Encyclopedia, Sixth Edition. (2009). Pope, Alexander. Columbia University Press: New York. Woodman, Thomas. (2005). Pope and the Paradoxical Centrality of the Satirist. Studies in the Literary Imagination, 38 (1), 1-2. Read More